I surely recommend this recording to anyone especially to beginners.
Below is my slightly modified message-review that I had sent to Kimiko on May 29, 2012 (one day after release).
Hello, Kimiko!
I just have added link to your recording to my 'Short Review of Bach Music for Beginners' (Russian-language page): http://bagira.hut2.ru/bach.htm
Performance
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I'm not musically educated at all, but I have listened well over 100 recordings of Goldbergs on different instruments and have some opinion and tastes.
Mainly I prefer calm performances; maybe Perahia's recording (2000) I cannot name as calm but 'magnetizing' — certainly. Longest I have listened on Piano — Alexander Paley, 2004: 104 minutes!
There are some 'check points' in Goldbergs, and I quickly listen new recording at these points to determine — whether new recording is interesting for me to deeply investigate. Goldbergs are fully 'ok' for me only after several full listenings and if all will be fine for me then I will listen this recording in future.
1. Transition from Aria to 1st Variation: no abrupt rush from slow Aria to 1st.
You are fine here!
2. Variation 6th: some pianists here produce such 'sound massive' and play in such fast tempos that I hardly can distinguish separate notes and voices.
You are fine here!
3. Variation 8th: here I compare with finest Evgeni Koroliov rendition (1999). I cannot say scholarly, but he plays some notes with specific 'charm and lenghtening'. Maybe this 'behaviour' is written in notes, I cannot read score, but I own Kirkpatrick's edition from 1930s just for metaphysical reasons though I not understand them.
I hear some 'charm and lenghtening' in your recording!
4. Transition from 15th to 16th Variation: no abrupt rush from slow 15th to 16th. Alexander (not Evgeni!) Korolev (2004) is ideal here.
You are fine here!
5. Variation 19th: no fast tempos here. Very intricate interweaving of voices for me. Rosalyn Tureck (1998) is ideal here.
You are fine here!
6. Transition from 25th to 26th Variation: no abrupt rush from slow 25th to 26th. 26th Variation for me like train slowly starting from departure point of 25th Variation.
You are fine here!
7. Beginning of 29th Variation: no extra-loud notes at the very beginning. Sadly Angela Hewitt in both 1999 (studio) and 2009 (concert) recordings here produces very loud notes.
You are fine here!
I want to specially note that Glenn Gould breaks mostly all of my 'check points' in all of his recordings.
Also I do not like neither extra-embellishments (Alexander Paley, Piano, 2004 and Ottavio Dantone, Harpsichord, 2003) nor playing without embellishments at all (Wilhelm Kempff, Piano, 1969 and Lechler, Eisenlohr, Piano Duo, 1986).
You are fine here!
Slight critic (little)
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1. Low (bass?) notes in beginning of 3rd Variation (at seconds 10-30 and at seconds 36-56) are not separate enough (low note from low note) for my hearing.
2. Trills in 28th have some points of non-acceptance (maybe word 'weak' suitable here?) for me.
Little question
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Why you not play repeats in Aria da Capo? I read somewhere that it was the practice in Bach's times do not play repeats in Capo, but this practice not suitable for Bach (I cannot remember where I read this). Evgeni Koroliov (1999, 2008) plays repeats (as I remember) in Capo, Andrei Gavrilov (1992) also plays. Many pianists and harpsichordists not play repeats here, so it is maybe common now.
I certainly will relisten you recording with eyes closed.
Thank you!
Sincerely, Serge